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Second and last album of this Swedish group formed in Gagnef. Here the band follows the folk rock line of first album, influenced by psychedelic and progressive rock with beautiful passages of keyboard, flute and violin, merged with the accordion, harmonica and guitar, creating an acoustic and trippy atmosphere. The vocals are male and female, all sung in the local language, talking about social and political issues. For Nordic folk lovers, this gem can't pass unnoticed.

The music on Sierra Leone in 1970s USA is an about as excellent an example of hard-driving, straight-ahead Afro-funk as you could wish to hear. Every track bubbles with energetic percussion, conversing bass and guitars, richly harmonized vocals, soaring sax, fuzzy guitar solos, and a momentum that just won’t quit. Like so much African popular music from the period, the sound is strongly influenced by African-American funk, especially the syncopated grooves of James Brown, but also clearly draws on local musical and cultural traditions for the vocal melodies and rhythms.

Widely-regarded as the best set of Hendrix covers ever recorded, this obscurity was in fact by cult hard rockers theChico Magnetic Band, and originally appeared in France in 1971. Far more adventurous than most tribute albums, it treats the songs as starting points for adventurous jams, making it a must for all fans of wild hard rock.

What we have here is obviously rock exploitation covers of classical music. But to leave it at that would never do this album justice. No, you just can't properly understand the true beauty of classical music until you've heard it played as crazed early 70's Japanese psych/prog full of blasting fuzzed-out wah-wah guitar solos, vintage organ assaults, and a fat, thumping rhythm section. Basically the group plays classic tunes by Bach, Mozart, Mendelson and so forth but transforms them into heavy psych out, wah-wah, heavy organ-drenched key-demolition moves-spiked up versions, giving a whole new meaning to classical music. So basically classical tunes transformed into heavy psych versions, loads of guitar, drum riffage, keyboard molten lava action and so forth. Just an amazing album and a deranged transmogrified ball-busting hybrid beast that only could have originated in 1971 Japan.

segunda-feira, 16 de maio de 2016

Comentário: Grupo de Sydney, formado em meados dos anos 70 a partir de ex-membros de pequenas bandas locais, lançaram um único e extremamente raro registro de forma independente, com míseras 50 cópias. A qualidade dos integrantes é outro ponto interessante, dividido em 8 faixas (longas em sua maioria) e combinando um instrumental complexo, dinâmico e cheio de variações, onde destaca-se a guitarra, piano e sintetizadores, acompanhando o belíssimo vocal feminino de Bernie Morgan. Longe de ser um som mediano dentro da estilo, altamente recomendado!A great Aussie Fusion act from Sydney, which never made it to the recordings of a proper album, Stepps performed regularly from mid- to late-70's at local clubs and hotels and even got some rare airplay on TV and radio at the end of their brief road.They recorded the album ''Waltz for Tiger Joe'' (1976, private) on their own forces, but only 50 copies were pressed and handed to friends, so there are no signs it was ever commercially available. Shame, because they played dreamy yet intense Jazz Fusion with some Canterbury edges, similar to National Health and Belgians Cos, fronted by Morgan's wordless voice experiments and the stunning performance of the musicians, leading to great grooves and unexpected breaks. This was far from average Fusion, the album has a constant tendency towards jazzy Prog Rock through all those tempo changes and complex instrumental patterns, which combine Female vocal Pop and Fusion and electric piano-driven Jazz Rock. Great guitar work and some furious piano paces, who also delivers a few impressive synth flights throughout. Pretty long tracks with lots of instrumental room and lovely interplays.Text: Pieces of Sophisti-Rock

Pyranha's sole album sounds like a lost recording from the Futura label. There's quite a bit of psychotic ranting in French over studio effects, vibes, guitar and percussion. Also some organ and electric piano driven rock sessions. Album opener is even a bit funky. Only misstep is the second song on side 1 ('Time 13'), a misguided improvisation that seems to serve no purpose whatsover. Unfortunately it's also the longest track at nearly 13 minutes long. Had that track just been merely average, and not so obtrusive, I think I would've considered this as a Priority 3. A fascinating listen though.

Charles Kaczynski guested on the first Conventum album, playing violin. He put his only solo album out on his own label a short time later. There are no credits, so it's unclear whether Kaczynski is doing everything himself via multi-tracking or whether he has help. Violin is omnipresent on this album, generally either solo with harmonics or in homophonic lines, supplemented by vocals, piccolo, recorder, acoustic guitar, cello, and so on. The album consists of brief pieces that all run together creating a unified masterwork. The music produces an incredible groundswell of emotion of great intensity, melancholy and powerful bittersweetness. There is an English version of this album with a longer running time. Kaczynski was later a member and composer for Cirque Éloize, a musical and theatre ensemble.

La Nouvelle frontière was formed in the late 1960's by the twins, Richard (guitar/vocals) and Marie-Claire (vocals) Séguin, in Montreal's eastern district of Pointe-aux-Trembles. They were joined by André Brault (bass/guitar/vocals), Denis Chenier (drums), Robert Letendre (guitar/vocals), and Normand Théroux (keyboards/vocals). They released two albums in 1970, a self-titled effort followed by "L'Hymne aux quenouilles". The music has a strong 1960's folk-rock feel to it, with only a couple of mildly experimental tracks. Although La Nouvelle frontière performed with some high profile names such as Johnny Halliday and Little Richard, the group was largely ignored by the media due to its hippie image. The Séguins' more acoustic style also clashed with Théroux's preference for rock music, and the group disbanded in 1971.Théroux later joined progressive band Le Match, while the twins formed the folk duo (Les) Séguin, eventually pursuing successful solo careers.

Heavily Allman Bros. influenced southern rock by this Ohio band, with mostly blues based mat'l, and featuring dual lead and slide guitar, some vocal harmony, and a few Grateful Dead moves as well. A real sleeper, relatively off the radar so far, but gaining in reputation - and well worth seeking out by fans of the genre. Quite consistent too.
Text: Rate Your Music

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